Label Spotlight: I, Voidhanger Records

By Kevin Page. Italy's I, Voidhanger Records, founded in 2008, are one of the handful of labels where quality reigns supreme. Not one to simply sign a slew of bands and push product out the door, each artist is

By Kevin Page.

Italy's I, Voidhanger Records, founded in 2008, are one of the handful of labels where quality reigns supreme. Not one to simply sign a slew of bands and push product out the door, each artist is carefully picked, and more times than not, something that you should take notice of. Here are three of their most recent releases definitely worth your time.

Cover art by Sergio Gonzales

Santiago, Chile's Nar Mattaru unleash their sophomore full length effort, Ancient Atomic Warfare, 4 years after their debut (which I have not had the pleasure of hearing yet). Joined by new vocalist, Bliol, who sounds just like Dr. Claw from the old Inspector Gadget cartoon (I kid you not and I mean this in the nicest way possible), the band pummel you through 45 minutes of mid paced death metal. Unlike lots of Chilean and South American bands this isn't noisy chaotic war metal. Yet this is far from polished or pristine sounding though and reminds me of an early Immolation without the backwards sounding riffs. Favorite track: "The Great Serpent of Knowledge".

Artwork by Francesco Gemelli

If you didn't get a chance or simply missed my interview with Spectral Lore, there's no better time than now to give it a read/listen (links to 3 current releases included).

Once you are finished with that, Ayloss has even more new material for you to check out in Gnosis, a 49 minute experimental EP. But don't fear the experimental tag as there's plenty of metal to go along with the ambiance, acoustics and oriental instrumentation. If you are a fan of the band, this one might require a little more of your time than usual (at least it did for me). And be sure to check out the mindset behind the release (on their Bandcamp page), which is written in a far more eloquent manner than I could ever hope to.

Cover art by Wiley Trieff

I'm guessing that most people would never peg Howls of Ebb as an American band, I sure didn't. They seem too quirky and unique with their twisted take on the death metal genre. 2014's debut album, Vigils of the 3rd Eye, was literally an eye opener and fresh take on extreme metal. And like most things original, it was glossed over fairly easily. They have now returned with a new 34 minute EP that's even more 'out there', but not in a spacey, wanky, self indulgent way. My initial reaction was to question if this was the same band, as by comparison the debut sounded fairly easy to grasp. This took me repeated spins to finally warm up to it, but once it did, I was treated to a hypnotic black/death soundscape. From riffs, to production and song structure, everything just screams DIFFERENT and that's a good thing. Another home run for I, Voidhanger Records.

Darkspace - Dark Space III I & Mare Cognitum - Phobos Monolith

Written by Kaptain Carbon // Space Pilot from the Year 5000.


This is how the universe collapses. Darkspace's legacy is rooted in their interesting exploration of ambient black metal, as well as one of their guitarist’s work in the seminal side project Paysage D’ Hiver. It also helps that the band has an air of mystery, with their releases becoming increasingly more sparse. Darkspace’s previous record Dark Space III was released in 2008, and for the past four odd years fans have been awaiting the arrival of whatever the fourth installment would be called. In thematic fashion, the band’s announcement of their new record came in cryptic transmissions, with the full album being released almost immediately. I think I would have been happy with anything, but this is something else entirely.

Darkspace makes music that are pieces to a whole. Since their first release Dark Space I, and even their 2002 demo Dark Space -I, the band has released sequentially numbered tracks that vary in length but seem to be a part of the same cold universe. To add to this, the band seldom releases lyrics, save for dialogue and quotes from literature, philosophy, and film texts. The band’s dedication to the exploration of the coldest recesses of space is extraordinary, as sometimes the most horrifying things can dwell in the limitless expanses of darkness. Darkspace has kept this mystique strong for more than ten years and the fact that their records keep getting more and more interesting gives me hope for a century of darkness over this galaxy.

Throughout their timeline, the Darkspace albums have become more and more dynamic with their production. Dark Space III cemented the full range this band was capable of with heavy guitar tones and a dynamic range of atmosphere. Rather than the high end swirls that marked their first two albums, Dark Space III was lower and deeper in a contrast that makes the whole experience immersive. For this reason, Dark Space III I steps into its place as one of the most effective records of the band’s career, with a heavier drum machine and even more panoramic horror. Split into three tracks ranging from 18 to 27 minutes, the landscapes in “4.18,” “4.19” and “4.20” are something fitting of deep cosmic terror — one that could only be achieved by a band who is probably not of this earth.

If this review sounds like it was written by a fan, it is because Darkspace has achieved a non traditional thematic scope that is backed by outstanding releases. The presentation of this record, combined with their stellar past releases, make it an event that is either on a trajectory into deep space or something coming back from its depths. Given that the records are getting increasingly clearer in their sound, I imagine Dark Space X to be even more horrifying when it is released in 3022.

[Go to the post to view the Bandcamp player]

Cover art by Luciana Nedelea

Part of me finds the cover for Mare Cognitum’s third full length odd, while the other half is convincing the former that it is all part of a new realm of black metal. Mare Cognitum is a one man black metal outfit who seems to be completely obsessed with the darkness that dwells in space. I have been familiar and friendly with Mare Cognitum since his 2011 debut The Sea Which Has Become Known. It has been a few years since then, and I am pleased to realize that his new album, Phobos Monolith, is perhaps the best work from this creator and probably one of the more enjoyable atmospheric black metal records of 2014.

Space is a vast theme with multiple angles. Unlike Darkspace, Mare Cognitum retains some starry eyed wonder for the mysteries held between the darkness. Unlike his previous two records, the cover for Phobos Monolith is bright and iridescent with violets and whites. Additionally, Mare Cognitum's music is starting to embrace multi layered flourishes, such as the guitar cascade on “Weaving the Thread of Transcendence” or the half tempo acoustic accents on “Noumenon.” These changes in the music, along with a continual maturing of his abstract and transcendent lyrics, allows Phobos Monolith to step out as a solid record that can be embraced by crowds outside of atmospheric black metal.

I have made mention before how atmospheric black is flooded with bands that can easily mimic the sound. Phobos Monolith is a special case, as it allows this style of music to fully embrace its thematic focus and makes those style choices interesting. Why not have a record dedicated to the majesty of deep space filled with wandering atmosphere? There has been a lot of atmospheric black metal records in the past decade, but Mare Cognitum will never cease to be interesting or entertaining with his records.

[Go to the post to view the Bandcamp player]

Kaptain Carbon is the proprietor of Tape Wyrm -- a site site dedicated to cassette releases and underground metal reviews. In his free time, Kaptain Carbon reviews sword and sorcery films for Hollywood Metal, moderates Reddits r/metal, and spends way too much time playing Magic the Gathering.

Howls of Ebb - Vigils of the 3rd Eye

A few days ago the mighty Autothrall posted the first interview ever on From the Dust Returned. The original intention with the blog was, besides the reviews, "to converse with the creators behind some of the most compelling and inspirational of recordings I've encountered through my listening".

Artwork by Wiley Trieff

A few days ago the mighty Autothrall posted the first interview ever on From the Dust Returned. The original intention with the blog was, besides the reviews, "to converse with the creators behind some of the most compelling and inspirational of recordings I've encountered through my listening". That part of the plan didn't come into fruition, but as he continues it "all changes this Spring, as I embark on a monthly quest to pick the brains of some of the more fascinating authors of agony in the underground!"

The first interview is with zEleFthAnD, songwriter, vocalist and guitarist from Howls of Ebb. They discuss the bands origins, philosophy, and of course their debut Vigils of the 3rd Eye; an album that Autothrall writes "has spent several nights with me on the very precipice of sanity". It's strikingly original and organic sounding death metal; as his mightiness enthuses: "this is one of a precious few death metal records I've heard lately where the immediate reaction wasn't to compare it to album A by artists B and C."

Some of the riffs are just that, great riffs. But mostly this is not music that immediately grabs your attention, instead it wins you over by it's lumbering hypnotic presence, and quirky charm (twangy guitars anyone?). Song subjects runs from "a first hand account of our coming demise" ("Martian Terrors, Limbonic Steps"), "a personal mystic journey in the 4th dimension" ("Of Heel, Cyst and Lung"), to "what happens when an Observer oversteps his bounds and directs death upon undesirables" ("Opulent Ghouls, Blessed be Thy End"). On Vigil Vigils of the 3rd Eye you're in for a strange and enticing journey, on From the Dust Returned I hope Autothrall continues his - and gives us more interesting interviews.



The Vigils of the 3rd Eye download comes with high quality scans of the album booklet, featuring much more of that gorgeous Wiley Treff art. That's how to do it I, Voidhanger Records!

Woebegone Obscured - Marrow of Dreams

I, Voidhanger Records has opened a Bandcamp page. Among the albums available you can find Marrow of Dreams, the new release from Danish band Woebegone Obscured. Metal Archives touts them as 'Blackened Funeral Doom/Death Metal' and the PR material lumps them together with Disembowelment, Evoken and Thergothon. This is both right and wrong. Woebegone Obscured is obviously funeral doom, blackened and death too; But the tempo is generally a little higher, and Woebegone Obscured doesn't seem so intent on crushing you under the weight of the music as those three bands (The very non funeral doom cover might also be a giveaway there).

The songs on Marrow of Dreams are like progressive funeral doom symphonies. They cover a lot of ground and touches more genres than the aforementioned. Goth metal. Progressive metal. Traditional doom. Jazz and flamenco even. All the time there is an underrunning current of dissonance (both in playing and feeling) and disquiet. Which makes sense considering that the album is inspired by main man Danny Woe's "long period of time that lead him to deep depression, to a paranoid/schizophrenic disorder diagnosis, and to a seemingly timeless stay at a mental hospital". Danny is listed as sole vocalist and he utilizes an impressive range of styles - from death growls and blackened barks to wavery cleans - to tell his tales of, well, woe.

The production is clear and layered, you can pick out every instrument. Which makes sense, there is a lot to listen to. That also goes for the length of the album, it clocks in at 80 minutes. Which may be too long, at least I could have done without the second song "Vacuum Ocean". It is less adventurous, more plodding, than the others and suffers somewhat from it. The wavery cleans are overdone, and the 'sounds of waves lapping at the shore' thing so clichéed. Plus points for the unhinged blackened vocals, and the whale noises near the end though. But besides that Marrow of Dreams is a successful release. The playing is top notch and there's so much going in the songs that your interest never wanes. The transitions never seem forced, which is paramount in making long, complex, and slow songs work. This is not the harshest doom you'll ever hear, nor the most extreme, but it's pretty damn interesting.

[Go to the post to view the Bandcamp player]